【摘要】： 中國(guó)獅子文化肇始于漢代,至今已有兩千余年的歷史。隨著獅子文化的產(chǎn)生、發(fā)展與成熟,獅子的藝術(shù)形象也早已成為中華民族獨(dú)特的精神象征和文化符號(hào),而其中以石獅造型藝術(shù)尤為突出。中國(guó)石獅藝術(shù)最初出現(xiàn)于漢代帝王、貴族官僚陵墓前神道兩旁具有護(hù)衛(wèi)的石刻群中,并由此傳襲,經(jīng)由魏晉南北朝、唐,至宋代以后漸入民間,使用也日趨廣泛。此間,石獅藝術(shù)受思想觀念、時(shí)代精神等多種因素的影響,造型不斷發(fā)生變化,但是到了明清,石獅的造型開(kāi)始穩(wěn)定,并趨近程式化。石獅藝術(shù)經(jīng)過(guò)長(zhǎng)期的發(fā)展演變,除了呈現(xiàn)強(qiáng)烈的民間性以外,還有著不可替代的魅力及成熟的發(fā)展形態(tài),其內(nèi)容所體現(xiàn)的倫理、宗教、民俗意蘊(yùn)美與所蘊(yùn)含的線條、形制、動(dòng)態(tài)的韻律美,構(gòu)成了東方藝術(shù)獨(dú)特的美學(xué)價(jià)值。面對(duì)喜聞樂(lè)見(jiàn)而又林林總總、蔚為大觀的石獅藝術(shù),作為總體性研究,從具有代表性的作品入手顯得尤為重要。文章在對(duì)最具有代表性的石獅藝術(shù)形式作典型性研究的基礎(chǔ)上,結(jié)合文獻(xiàn)有關(guān)資料,著重考察了石獅造型藝術(shù)興盛的動(dòng)因、獅子在諸多靈獸中的地位問(wèn)題,以及采用斷代的形式梳理石獅藝術(shù)由漢代至明清整體樣式的流變,以綜合運(yùn)用圖像學(xué)(意義解讀)、藝術(shù)風(fēng)格學(xué)(形式分析)及文獻(xiàn)學(xué)的方法通過(guò)考證、對(duì)比探討其獨(dú)特內(nèi)涵和精神指向,揭示藝術(shù)形式形成的內(nèi)在原因,總結(jié)歸納其凸顯的時(shí)代精神和美學(xué)品格。
[Abstract]:Chinese lion culture began in the Han Dynasty and has a history of more than two thousand years. With the emergence, development and maturity of lion culture, the artistic image of lion has already become the unique spiritual symbol and cultural symbol of the Chinese nation, among which the stone lion plastic art is especially prominent. Chinese stone lion art first appeared in the Han Dynasty emperors, the aristocratic bureaucrats tomb in front of the Shinto with guards on both sides of the stone carvings, and this spread, through the Wei, Jin, Southern and Northern dynasties, Tang, and after the Song Dynasty gradually into the folk, the use is becoming more and more widespread. The stone lion art was influenced by many factors, such as ideology, spirit of the times and so on. However, by the Ming and Qing dynasties, the stone lion's shape began to stabilize and became stylized. After a long period of development and evolution, the stone lion art not only presents a strong folk character, but also has irreplaceable charm and mature development form. Its contents embody ethics, religion, folklore meaning beauty and the lines contained therein. The dynamic beauty of rhythm constitutes the unique aesthetic value of oriental art. As a general study, it is very important to start with representative works in the face of the popular stone lion art. On the basis of the typical research on the most representative stone lion art form and the relevant documents, this paper focuses on the reasons for the prosperity of stone lion plastic arts and the status of the lion in many spirits and beasts. And combing the whole style of stone lion art from the Han Dynasty to the Ming and Qing dynasties in the form of dynastic period, and making use of the methods of image science (meaning interpretation), artistic stylistics (form analysis) and philology, through textual research. This paper discusses its unique connotation and spiritual direction, reveals the internal causes of the formation of art form, and summarizes its prominent spirit of the times and aesthetic character.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類(lèi)號(hào)】：J306

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前3條

1 宋嵐;中國(guó)獅子圖像的淵源探究[D];南京藝術(shù)學(xué)院;2011年

2 賈璞;造型與象征[D];上海社會(huì)科學(xué)院;2011年

3 趙映奎;唐代順陵石獅造型藝術(shù)特色初探[D];西安美術(shù)學(xué)院;2011年

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本文編號(hào)：2140149